1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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13 @node General input and output
14 @chapter General input and output
16 This section deals with general LilyPond input and output issues,
17 rather than specific notation.
21 * Titles and headers::
22 * Working with input files::
23 * Controlling output::
25 * Extracting musical information::
30 @section Input structure
32 The main format of input for LilyPond are text files. By convention,
33 these files end with @file{.ly}.
36 * Structure of a score::
37 * Multiple scores in a book::
38 * Multiple output files from one input file::
44 @node Structure of a score
45 @subsection Structure of a score
49 A @code{\score} block must contain a single music expression
50 delimited by curly brackets:
58 @warning{There must be @strong{only one} outer music expression in
59 a @code{\score} block, and it @strong{must} be surrounded by
62 This single music expression may be of any size, and may contain
63 other music expressions to any complexity. All of these examples
64 are music expressions:
70 @lilypond[verbatim,quote]
77 @lilypond[verbatim,quote]
79 \new Staff { c'4 c' c' c' }
80 \new Staff { d'4 d' d' d' }
88 \new Staff @{ \flute @}
89 \new Staff @{ \oboe @}
92 \new Staff @{ \violinI @}
93 \new Staff @{ \violinII @}
99 Comments are one exception to this general rule. (For others see
100 @ref{File structure}.) Both single-line comments and comments
101 delimited by @code{%@{ .. %@}} may be placed anywhere within an
102 input file. They may be placed inside or outside a @code{\score}
103 block, and inside or outside the single music expression within a
106 Remember that even in a file containing only a @code{\score} block, it
107 is implicitly enclosed in a \book block. A \book block in a source
108 file produces at least one output file, and by default the name of the
109 output file produced is derived from the name of the input file, so
110 @file{fandangoforelephants.ly} will produce
111 @file{fandangoforelephants.pdf}.
113 (For more details about @code{\book} blocks, see
114 @ref{Multiple scores in a book},
115 @ref{Multiple output files from one input file} @ref{File structure}.)
119 @rlearning{Working on input files},
120 @rlearning{Music expressions explained},
121 @rlearning{Score is a (single) compound musical expression}.
124 @node Multiple scores in a book
125 @subsection Multiple scores in a book
128 @cindex movements, multiple
130 A document may contain multiple pieces of music and text. Examples
131 of these are an etude book, or an orchestral part with multiple
132 movements. Each movement is entered with a @code{\score} block,
140 and texts are entered with a @code{\markup} block,
150 All the movements and texts which appear in the same @file{.ly} file
151 will normally be typeset in the form of a single output file.
165 One important exception is within lilypond-book documents,
166 where you explicitly have to add a @code{\book} block, otherwise only
167 the first @code{\score} or @code{\markup} will appear in the output.
169 The header for each piece of music can be put inside the @code{\score}
170 block. The @code{piece} name from the header will be printed before
171 each movement. The title for the entire book can be put inside the
172 @code{\book}, but if it is not present, the @code{\header} which is at
173 the top of the file is inserted.
177 title = "Eight miniatures"
178 composer = "Igor Stravinsky"
182 \header @{ piece = "Romanze" @}
185 ..text of second verse..
188 ..text of third verse..
192 \header @{ piece = "Menuetto" @}
198 Pieces of music may be grouped into book parts using @code{\bookpart}
199 blocks. Book parts are separated by a page break, and can start with a
200 title, like the book itself, by specifying a @code{\header} block.
206 subtitle = "First part"
213 subtitle = "Second part"
220 @node Multiple output files from one input file
221 @subsection Multiple output files from one input file
223 If you want multiple output files from the same @file{.ly} file,
224 then you can add multiple @code{\book} blocks, where each
225 such \book block will result in a separate output file.
226 If you do not specify any @code{\book} block in the
227 input file, LilyPond will implicitly treat the whole
228 file as a single \book block, see
229 @ref{File structure}.
231 When producing multiple files from a single source file, Lilypond
232 ensures that none of the output files from any @code{\book} block
233 overwrites the output file produced by a preceding @code{\book} from
236 It does this by adding a suffix to the output name for each
237 @code{\book} which uses the default output file name derived from the
240 The default behaviour is to append a version-number suffix for each
241 name which may clash, so
246 \layout @{ @dots{} @}
250 \layout @{ @dots{} @}
254 \layout @{ @dots{} @}
258 in source file @file{eightminiatures.ly}
263 @file{eightminiatures.pdf},
265 @file{eightminiatures-1.pdf} and
267 @file{eightminiatures-2.pdf}.
270 @node Output file names
271 @subsection Output file names
273 @funindex \bookOutputSuffix
274 @funindex \bookOutputName
276 Lilypond provides facilities to allow you to control what file names
277 are used by the various back-ends when producing output files.
279 In the previous section, we saw how Lilypond prevents name-clashes when
280 producing several ouputs from a single source file. You also have the
281 ability to specify your own suffixes for each @code{\book} block, so
282 for example you can produce files called
283 @file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
284 and @file{eightminiatures-Nocturne.pdf} by adding a
285 @code{\bookOutputSuffix} declaration inside each @code{\book} block.
289 \bookOutputSuffix "Romanze"
291 \layout @{ @dots{} @}
294 \bookOutputSuffix "Menuetto"
296 \layout @{ @dots{} @}
299 \bookOutputSuffix "Nocturne"
301 \layout @{ @dots{} @}
305 You can also specify a different output filename for @code{book} block,
306 by using @code{\bookOutputName} declarations
310 \bookOutputName "Romanze"
312 \layout @{ @dots{} @}
315 \bookOutputName "Menuetto"
317 \layout @{ @dots{} @}
320 \bookOutputName "Nocturne"
322 \layout @{ @dots{} @}
326 The file above will produce these output files:
332 @file{Menuetto.pdf} and
339 @subsection File structure
349 A @file{.ly} file may contain any number of toplevel expressions, where a
350 toplevel expression is one of the following:
354 An output definition, such as @code{\paper}, @code{\midi}, and
355 @code{\layout}. Such a definition at the toplevel changes the default
356 book-wide settings. If more than one such definition of the same type
357 is entered at the top level the definitions are combined, but in
358 conflicting situations the later definitions take precedence. For
359 details of how this affects the @code{\layout} block see
360 @ref{The \layout block}.
363 A direct scheme expression, such as
364 @code{#(set-default-paper-size "a7" 'landscape)} or
365 @code{#(ly:set-option 'point-and-click #f)}.
368 A @code{\header} block. This sets the global (i.e. the top of
369 file) header block. This is the block containing the default
370 settings of titling fields like composer, title, etc. for all
371 books within the file (see @ref{Titles explained}).
374 A @code{\score} block. This score will be collected with other
375 toplevel scores, and combined as a single @code{\book}.
376 This behavior can be changed by setting the variable
377 @code{toplevel-score-handler} at toplevel. The default handler is
378 defined in the init file @file{../scm/lily.scm}.
381 A @code{\book} block logically combines multiple movements
382 (i.e., multiple @code{\score} blocks) in one document. If there
383 are a number of @code{\score}s, one output file will be created
384 for each @code{\book} block, in which all corresponding movements
385 are concatenated. The only reason to explicitly specify
386 @code{\book} blocks in a @file{.ly} file is if you wish to create
387 multiple output files from a single input file. One exception is
388 within lilypond-book documents, where you explicitly have to add
389 a @code{\book} block if you want more than a single @code{\score}
390 or @code{\markup} in the same example. This behavior can be
391 changed by setting the variable @code{toplevel-book-handler} at
392 toplevel. The default handler is defined in the init file
393 @file{../scm/lily.scm}.
396 A @code{\bookpart} block. A book may be divided into several parts,
397 using @code{\bookpart} blocks, in order to ease the page breaking,
398 or to use different @code{\paper} settings in different parts.
401 A compound music expression, such as
406 This will add the piece in a @code{\score} and format it in a
407 single book together with all other toplevel @code{\score}s and music
408 expressions. In other words, a file containing only the above
409 music expression will be translated into
426 This behavior can be changed by setting the variable
427 @code{toplevel-music-handler} at toplevel. The default handler is
428 defined in the init file @file{../scm/lily.scm}.
431 A markup text, a verse for example
434 2. The first line verse two.
438 Markup texts are rendered above, between or below the scores or music
439 expressions, wherever they appear.
449 This can be used later on in the file by entering @code{\foo}. The
450 name of a variable should have alphabetic characters only; no
451 numbers, underscores or dashes.
455 The following example shows three things that may be entered at
460 % Don't justify the output
472 At any point in a file, any of the following lexical instructions can
476 @item @code{\version}
477 @item @code{\include}
478 @item @code{\sourcefilename}
479 @item @code{\sourcefileline}
481 A single-line comment, introduced by a leading @code{%} sign.
484 A multi-line comment delimited by @code{%@{ .. %@}}.
490 Whitespace between items in the input stream is generally ignored,
491 and may be freely omitted or extended to enhance readability.
492 However, whitespace should always be used in the following
493 circumstances to avoid errors:
496 @item Around every opening and closing curly bracket.
497 @item After every command or variable, i.e. every item that
498 begins with a @code{\} sign.
499 @item After every item that is to be interpreted as a Scheme
500 expression, i.e. every item that begins with a @code{#}@tie{}sign.
501 @item To separate all elements of a Scheme expression.
502 @item In @code{lyricmode} to separate all the terms in both
503 @code{\override} and @code{\set} commands. In particular, spaces
504 must be used around the dot and the equals sign in commands like
505 @code{\override Score . LyricText #'font-size = #5} and before and
506 after the entire command.
512 @rlearning{How LilyPond input files work}.
515 @ref{Titles explained},
516 @ref{The \layout block}.
519 @node Titles and headers
520 @section Titles and headers
522 Almost all printed music includes a title and the composer's name;
523 some pieces include a lot more information.
526 * Creating titles headers and footers::
527 * Custom titles headers and footers::
528 * Creating footnotes::
529 * Reference to page numbers::
530 * Table of contents::
534 @node Creating titles headers and footers
535 @subsection Creating titles headers and footers
539 * Default layout of bookpart and score titles::
540 * Default layout of headers and footers::
544 @node Titles explained
545 @unnumberedsubsubsec Titles explained
547 Each @code{\book} block in a single input file produces a separate
548 output file, see @ref{File structure}. Within each output file
549 two types of titling areas are provided: @emph{Bookpart Titles} at
550 the beginning of each bookpart and @emph{Score Titles} at the
551 beginning of each score.
553 Values of titling fields such as @code{title} and @code{composer}
554 are set in @code{\header} blocks. (For the syntax of @code{\header}
555 blocks and a complete list of the fields available by default see
556 @ref{Default layout of bookpart and score titles}). Both Bookpart
557 Titles and Score Titles can contain the same fields, although by
558 default the fields in Score Titles are limited to @code{piece} and
561 @code{\header} blocks may be placed in four different places to form
562 a descending hierarchy of @code{\header} blocks:
567 At the top of the input file, before all @code{\book},
568 @code{\bookpart}, and @code{\score} blocks.
571 Within a @code{\book} block but outside all the @code{\bookpart} and
572 @code{\score} blocks within that book.
575 Within a @code{\bookpart} block but outside all @code{\score} blocks
576 within that bookpart.
579 After the music expression in a @code{\score} block.
583 The values of the fields filter down this hierarchy, with the values
584 set higher in the hierarchy persisting unless they are over-ridden
585 by a value set lower in the hierarchy, so:
590 A Bookpart Title is derived from fields set at the top of the input
591 file, modified by fields set in the @code{\book} block, and further
592 modified by fields set in the @code{\bookpart} block. The resulting
593 values are used to print the Bookpart Title for that bookpart.
596 A Score Title is derived from fields set at the top of the input
597 file, modified by fields set in the @code{\book} block, further
598 modified by fields set in the @code{\bookpart} block and finally
599 modified by fields set in the @code{\score} block. The resulting
600 values are used to print the Score Title for that score. Note,
601 though, that only @code{piece} and @code{opus} fields are printed
602 by default in Score Titles unless the @code{\paper} variable,
603 @code{print-all-headers}, is set to @code{#t}.
607 @warning{Remember when placing a @bs{}@code{header} block inside a
608 @bs{}@code{score} block, that the music expression must come before the
609 @bs{}@code{header} block.}
611 It is not necessary to provide @code{\header} blocks in all four
612 places: any or even all of them may be omitted. Similarly, simple
613 input files may omit the @code{\book} and @code{\bookpart} blocks,
614 leaving them to be created implicitly.
616 If the book has only a single score, the @code{\header} block should
617 normally be placed at the top of the file so that just a Bookpart
618 Title is produced, making all the titling fields available for use.
620 If the book has multiple scores a number of different arrangements
621 of @code{\header} blocks are possible, corresponding to the various
622 types of musical publications. For example, if the publication
623 contains several pieces by the same composer a @code{\header} block
624 placed at the top of the file specifying the book title and the
625 composer with @code{\header} blocks in each @code{\score} block
626 specifying the @code{piece} and/or @code{opus} would be most
629 @lilypond[papersize=a5,quote,verbatim,noragged-right]
632 composer = "J. S. Bach."
636 \new Staff \relative g, {
639 \repeat unfold 2 { g16( d' b') a b d, b' d, } |
640 \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
648 \new Staff \relative b {
652 <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
653 d16( b g fis) g( e d c) b(c d e) fis( g a b) |
661 More complicated arrangements are possible. For example, text
662 fields from the @code{\header} block in a book can be displayed in
663 all Score Titles, with some fields over-ridden and some manually
666 @lilypond[papersize=a5,quote,verbatim,noragged-right]
669 print-all-headers = ##t
672 title = "DAS WOHLTEMPERIRTE CLAVIER"
674 % Do not display the tagline for this book
677 \markup { \vspace #1 }
681 \new Staff { \clef "bass" s1 }
684 title = "PRAELUDIUM I"
686 % Do not display the subtitle for this score
693 \new Staff { \clef "bass" s1 }
697 subsubtitle = "A 4 VOCI"
699 % Do not display the subtitle for this score
708 @ref{File structure},
709 @ref{Default layout of bookpart and score titles},
710 @ref{Custom layout for titles}.
713 @node Default layout of bookpart and score titles
714 @unnumberedsubsubsec Default layout of bookpart and score titles
716 This example demonstrates all @code{\header} variables:
718 @lilypond[papersize=a7,quote,verbatim,noragged-right]
721 % The following fields are centered
722 dedication = "Dedication"
724 subtitle = "Subtitle"
725 subsubtitle = "Subsubtitle"
726 % The following fields are evenly spread on one line
727 % the field "instrument" also appears on following pages
728 instrument = \markup \with-color #green "Instrument"
730 composer = "Composer"
731 % The following fields are placed at opposite ends of the same line
733 arranger = "Arranger"
734 % The following fields are centered at the bottom
735 tagline = "tagline goes at the bottom of the last page"
736 copyright = "copyright goes at the bottom of the first page"
741 % The following fields are placed at opposite ends of the same line
749 % The following fields are placed at opposite ends of the same line
750 piece = "Piece 2 on the same page"
758 % The following fields are placed at opposite ends of the same line
759 piece = "Piece 3 on a new page"
770 The instrument name will be repeated on every page.
773 Only @code{piece} and @code{opus} are printed in a @code{\score}
774 when the paper variable @code{print-all-headers} is set to
775 @code{##f} (the default).
778 @c Is the bit about \null markups true? -mp
779 Text fields left unset in a @code{\header} block are replaced with
780 @code{\null} markups so that the space is not wasted.
783 The default settings for @code{scoreTitleMarkup} place the @code{piece}
784 and @code{opus} text fields at opposite ends of the same line.
788 To change the default layout see @ref{Custom layout for titles}.
792 Use the @code{breakbefore} variable inside a @code{\header} block
793 that is itself in a @code{\score} block, to make the top-level
794 @code{\header} block titles appear on the first page on their own, with
795 the music (defined in the @code{\score} block) starting on the next.
797 @lilypond[papersize=a8landscape,verbatim,noragged-right]
800 title = "This is my Title"
801 subtitle = "This is my Subtitle"
802 copyright = "This is the bottom of the first page"
805 \repeat unfold 4 { e'' e'' e'' e'' }
807 piece = "This is the Music"
816 @rlearning{How LilyPond input files work},
819 @ref{Custom layout for titles},
820 @ref{File structure}.
823 @file{ly/titling-init.ly}.
826 @node Default layout of headers and footers
827 @unnumberedsubsubsec Default layout of headers and footers
829 @emph{Headers} and @emph{footers} are lines of text appearing at
830 the top and bottom of pages, separate from the main text of a book.
831 They are controlled by the following @code{\paper} variables:
834 @item @code{oddHeaderMarkup}
835 @item @code{evenHeaderMarkup}
836 @item @code{oddFooterMarkup}
837 @item @code{evenFooterMarkup}
840 These markup variables can only access text fields from top-level
841 @code{\header} blocks (which apply to all scores in the book) and are
842 defined in @file{ly/titling-init.ly}. By default:
847 page numbers are automatically placed on the top far left (if even) or
848 top far right (if odd), starting from the second page.
851 the @code{instrument} text field is placed in the center of every
852 page, starting from the second page.
855 the @code{copyright} text is centered on the bottom of the first page.
858 the @code{tagline} is centered on the bottom of the last page, and below
859 the @code{copyright} text if there is only a single page.
863 @lilypond[papersize=a8landscape]
873 The default tagline can be changed by adding a @code{tagline} in the
874 top-level @code{\header} block.
876 @lilypond[papersize=a8landscape,verbatim]
879 tagline = "... music notation for Everyone"
889 To remove the @code{tagline} set the value to @code{##f}.
892 @node Custom titles headers and footers
893 @subsection Custom titles headers and footers
895 @c TODO: somewhere put a link to header spacing info
896 @c (you'll have to explain it more in NR 4).
899 * Custom text formatting for titles::
900 * Custom layout for titles::
901 * Custom layout for headers and footers::
905 @node Custom text formatting for titles
906 @unnumberedsubsubsec Custom text formatting for titles
908 Standard @code{\markup} commands can be used to customize any header,
909 footer and title text within the @code{\header} block.
911 @lilypond[quote,verbatim,noragged-right]
915 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
916 subtitle = \markup { \italic "(Excerpt)" }
923 @ref{Formatting text}.
926 @node Custom layout for titles
927 @unnumberedsubsubsec Custom layout for titles
929 @cindex bookTitleMarkup
930 @cindex scoreTitleMarkup
931 @funindex bookTitleMarkup
932 @funindex scoreTitleMarkup
934 @code{\markup} commands in the @code{\header} block are useful for
935 simple text formatting, but they do not allow precise control over the
936 placement of titles. To customize the placement of the text fields,
937 change either or both of the following @code{\paper} variables:
940 @item @code{bookTitleMarkup}
941 @item @code{scoreTitleMarkup}
944 The placement of titles when using the default values of these
945 @code{\markup} variables is shown in the examples in
946 @ref{Default layout of bookpart and score titles}.
948 The default settings for @code{scoreTitleMarkup} as defined in
949 @file{ly/titling-init.ly} are:
952 scoreTitleMarkup = \markup @{ \column @{
953 \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
955 \fromproperty #'header:piece
956 \fromproperty #'header:opus
962 This places the @code{piece} and @code{opus} text fields at opposite
963 ends of the same line:
965 @lilypond[quote,verbatim,noragged-right]
969 piece = "PRAELUDIUM I"
975 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
976 text field is centered and in a large, bold font.
978 @lilypond[papersize=a5,quote,verbatim,noragged-right]
982 scoreTitleMarkup = \markup {
985 \fontsize #4 \bold \fromproperty #'header:piece
986 \fromproperty #'header:opus
990 \header { tagline = ##f }
994 piece = "PRAELUDIUM I"
1001 Text fields not normally effective in score @code{\header} blocks
1002 can be printed in the Score Title area if @code{print-all-headers} is
1003 placed inside the @code{\paper} block. A disadvantage of using this
1004 method is that text fields that are intended specifically for the
1005 Bookpart Title area need to be manually suppressed in every
1006 @code{\score} block. See @ref{Titles explained}.
1008 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
1009 definition. In the following example, the @code{composer} text field
1010 (normally associated with @code{bookTitleMarkup}) is added to
1011 @code{scoreTitleMarkup}, allowing each score to list a different
1014 @lilypond[papersize=a5,quote,verbatim,noragged-right]
1018 scoreTitleMarkup = \markup {
1021 \fontsize #4 \bold \fromproperty #'header:piece
1022 \fromproperty #'header:composer
1026 \header { tagline = ##f }
1031 composer = "Christian Petzold"
1038 composer = "François Couperin"
1044 It is also possible to create your own custom text fields, and refer to
1045 them in the markup definition.
1047 @lilypond[papersize=a5,quote,verbatim,noragged-right]
1051 scoreTitleMarkup = \markup {
1054 \override #`(direction . ,UP) {
1056 \center-align \fontsize #-1 \bold
1057 \fromproperty #'header:mycustomtext %% User-defined field
1058 \center-align \fontsize #4 \bold
1059 \fromproperty #'header:piece
1062 \fromproperty #'header:opus
1066 \header { tagline = ##f }
1071 mycustomtext = "A 4 VOCI" %% User-defined field
1080 @ref{Titles explained}.
1083 @node Custom layout for headers and footers
1084 @unnumberedsubsubsec Custom layout for headers and footers
1086 @c can make-header and make-footer be removed from
1087 @c paper-defaults-init.ly? -mp
1089 @code{\markup} commands in the @code{\header} block are useful for
1090 simple text formatting, but they do not allow precise control over the
1091 placement of headers and footers. To customize the placement of
1092 the text fields, use either or both of the following @code{\paper}
1096 @item @code{oddHeaderMarkup}
1097 @item @code{evenHeaderMarkup}
1098 @item @code{oddFooterMarkup}
1099 @item @code{evenFooterMarkup}
1102 @cindex markup, conditional
1104 @funindex \on-the-fly
1106 The @code{\markup} command @code{\on-the-fly} can be used to add
1107 markup conditionally to header and footer text defined within the
1108 @code{\paper} block, using the following syntax:
1111 @code{variable} = @code{\markup} @{
1113 @code{\on-the-fly} #@var{procedure} @var{markup}
1118 The @var{procedure} is called each time the @code{\markup} command
1119 in which it appears is evaluated. The @var{procedure} should test
1120 for a particular condition and interpret (i.e. print) the
1121 @var{markup} argument if and only if the condition is true.
1123 A number of ready-made procedures for testing various conditions are
1127 @multitable {print-page-number-check-first-----} {should this page be printed-----}
1129 @headitem Procedure name @tab Condition tested
1131 @item print-page-number-check-first @tab should this page number be printed?
1132 @item create-page-number-stencil @tab 'print-page-numbers true?
1133 @item print-all-headers @tab 'print-all-headers true?
1134 @item first-page @tab first page in the book?
1135 @item (on-page nmbr) @tab page number = nmbr?
1136 @item last-page @tab last page in the book?
1137 @item not-first-page @tab not first page in the book?
1138 @item part-first-page @tab first page in the book part?
1139 @item part-last-page @tab last page in the book part?
1140 @item not-single-page @tab pages in book part > 1?
1145 The following example centers page numbers at the bottom of every
1146 page. First, the default settings for @code{oddHeaderMarkup} and
1147 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
1148 markup. Then, @code{oddFooterMarkup} is redefined with the page
1149 number centered. Finally, @code{evenFooterMarkup} is given the
1150 same layout by defining it as @code{\oddFooterMarkup}:
1152 @lilypond[papersize=a8,quote,verbatim,noragged-right]
1155 print-page-number = ##t
1156 print-first-page-number = ##t
1157 oddHeaderMarkup = \markup \null
1158 evenHeaderMarkup = \markup \null
1159 oddFooterMarkup = \markup {
1161 \on-the-fly #print-page-number-check-first
1162 \fromproperty #'page:page-number-string
1165 evenFooterMarkup = \oddFooterMarkup
1168 \new Staff { s1 \break s1 \break s1 }
1173 Several @code{\on-the-fly} conditions can be combined with an
1174 @q{and} operation, for example,
1177 @code{\on-the-fly #first-page}
1178 @code{\on-the-fly #last-page}
1179 @code{@{ \markup ... \fromproperty #'header: ... @}}
1182 determines if the output is a single page.
1186 @ref{Titles explained},
1187 @ref{Default layout of bookpart and score titles}.
1190 @file{../ly/titling-init.ly}.
1193 @node Creating footnotes
1194 @subsection Creating footnotes
1198 Footnotes may be used in many different situations. In all cases,
1199 a @q{footnote mark} is placed as a reference in text or music, and
1200 the corresponding @q{footnote text} appears at the bottom of the
1203 Footnotes within music expressions and footnotes in stand-alone text
1204 outside music expressions are created in different ways.
1207 * Footnotes in music expressions::
1208 * Footnotes in stand-alone text::
1211 @node Footnotes in music expressions
1212 @unnumberedsubsubsec Footnotes in music expressions
1214 @cindex footnotes in music expressions
1217 @subsubsubheading Music footnotes overview
1219 Footnotes in music expressions fall into two categories:
1222 @item Event-based footnotes
1223 are attached to a particular event. Examples
1224 for such events are single notes, notes inside a chord, articulations
1225 (like beams, slurs, fingering indications, accents, dynamics) and
1228 @item Time-based footnotes
1229 are bound to a particular point of time in a
1230 musical context. Some commands like @code{\time} and @code{\clef}
1231 don't actually use events for creating objects like time signatures
1232 and clefs. Neither does a chord create an event of its own: its
1233 stem or flag is created at the end of a time step (nominally through
1234 one of the note events inside). A time-based footnote allows
1235 annotating such layout objects without referring to an event.
1239 The full form of a footnote command for both Event- and Time-based
1243 [@var{direction}] \footnote [@var{mark}] @var{offset} [@var{grob-name}] @var{footnote} @var{music}
1251 If (and only if) the @code{\footnote} is being applied to a
1252 post-event or articulation, it must be preceded with a direction
1253 indicator (@code{-, _, ^}) in order to attach @var{music} (with
1254 a footnote mark) to the preceding note or rest.
1257 is a markup or string specifying the footnote mark which is used for
1258 marking both the reference point and the footnote itself at the
1259 bottom of the page. It may be omitted (or equivalently replaced with
1260 @code{\default}) in which case a number in sequence will be generated
1261 automatically. Such numerical sequences restart on each page
1262 containing a footnote.
1265 is a number pair such as @samp{#(2 . 1)} specifying the X and
1266 Y@tie{}offsets in units of staff-spaces from the boundary of the
1267 object where the mark should be placed. Positive values of the
1268 offsets are taken from the right/top edge, negative values from the
1269 left/bottom edge and zero implies the mark is centered on the edge.
1272 specifies a type of grob to mark (like @samp{#'Flag}). If it is
1273 given, a grob of that type associated with the referenced @var{music}
1274 will be used as the reference point. It can be omitted (or replaced
1275 with @code{\default}) if the footnote mark is to be attached to the
1276 directly created grob in @var{music}.
1279 is the markup or string specifying the footnote text to use at the
1283 is the music event or chord constituent or post-event that is being
1284 annotated. While it cannot be omitted, it can be replaced by
1285 @code{\default} in which case the footnote is not attached to a music
1286 expression in particular, but rather to a moment of time. It is
1287 mandatory in this case to use the @var{grob-name} argument for
1288 selecting an affected grob type, like @samp{#'TimeSignature}.
1292 @subsubsubheading Event-based footnotes
1294 @cindex footnotes, event-based
1296 The simplest form of event-based footnotes is just
1299 \footnote @var{offset} @var{footnote} @var{music}
1302 This kind of footnote is attached to a layout object directly caused
1303 by the event corresponding to @var{music}.
1305 @lilypond[quote,verbatim,papersize=a8landscape]
1307 \header { tagline = ##f }
1309 \footnote #'(-1 . 3) "A note" a4
1311 \footnote #'(2 . 2) "A rest" r4
1317 If the footnote is to be attached to a post-event or articulation
1318 the @code{\footnote} command must be preceded by a direction
1319 indicator, @code{-, _, ^}, and followed by the post-event or
1320 articulation to be annotated as the @var{music} argument. In this
1321 form the @code{\footnote} can be considered to be simply a copy of
1322 its last argument with a footnote mark attached to it.
1324 @lilypond[quote,verbatim,papersize=a8landscape]
1326 \header { tagline = ##f }
1328 a4_\footnote #'(0 . -1) "A slur forced down" (
1329 b8^\footnote #'(1 . 0.5) "A manual beam forced up" [
1332 c-\footnote #'(1 . 1) "Tenuto" --
1337 Custom marks can be used as alternatives to numerical marks, and the
1338 annotation line joining the marked object to the mark can be
1341 @lilypond[quote,verbatim,papersize=a8landscape]
1343 \header { tagline = ##f }
1345 \footnote "*" #'(0.5 . -2) \markup { \italic "* The first note" }
1347 \footnote \markup { \super "$" } #'(0.5 . 1)
1348 \markup { \super "$" \italic " The second note" }
1350 \once \override Score.FootnoteItem #'annotation-line = ##f
1351 b-\footnote \markup \tiny "+" #'(0.1 . 0.1)
1352 \markup { \super "+" \italic " Editorial" } \p
1357 More examples of custom marks are shown in
1358 @ref{Footnotes in stand-alone text}.
1360 Marking an entire chord in this manner is not possible since a
1361 chord does not produce an event separate from that of its chord
1362 constituents, but the constituents themselves can be marked.
1364 If the layout object being footmarked is @emph{indirectly} caused by
1365 an event (like an @code{Accidental} or @code{Stem} caused by a
1366 @code{NoteHead}), an additional symbol argument, the @var{grob-name},
1367 is required before the footnote text:
1369 @lilypond[quote,verbatim,papersize=a8landscape]
1371 \header { tagline = ##f }
1373 % footnotes may be added to chord constituents
1374 < \footnote #'(-1 . -3) #'Accidental "Another flat" aes
1376 \footnote #'(-1 . 0.5) #'Accidental "A flat" ees
1378 \footnote #'(-1 . 2) #'Stem "A stem" ees2
1383 @warning {When footnotes are attached to several musical elements at
1384 the same musical moment, the footnotes are numbered from the higher
1385 to the lower elements as they appear in the printed output, not in
1386 the order in which they are written in the input stream.}
1388 @subsubsubheading Time-based footnotes
1390 @cindex footnotes, time-based
1392 Layout objects like clefs and key change signatures are mostly caused
1393 as a consequence of changed properties rather than actual events.
1394 Others, like bar lines and bar numbers, are a direct consequence of
1395 timing. For this reason, footnotes on such objects have to be based
1396 on their musical timing. Time-based footnotes are also preferable
1397 when marking features like stems and beams on @emph{chords}: while
1398 such per-chord features are nominally assigned to @emph{one} event
1399 inside the chord, relying on a particular choice would be imprudent.
1401 A time-based footnote is written in the same manner as an event-based
1402 footnote, except that @code{\default} is used in place of music
1403 indicating an event. The layout object in question should always be
1404 explicitly specified for time-based footnotes to avoid getting marks
1405 on unexpected objects.
1407 @lilypond[quote,verbatim,papersize=a8landscape]
1409 \header { tagline = ##f }
1412 \footnote #'(-0.5 . -1) #'TimeSignature "Meter change" \default
1414 \footnote #'(1 . -1) #'Stem "Chord stem" \default
1416 \footnote #'(-0.5 . 1) #'BarLine "Bar line" \default
1418 \footnote #'(0.5 . -1) #'KeySignature "Key change" \default
1426 @node Footnotes in stand-alone text
1427 @unnumberedsubsubsec Footnotes in stand-alone text
1429 @cindex footnotes in stand-alone text
1431 These are for use in markup outside of music expressions. They do
1432 not have a line drawn to their point of reference: their marks simply
1433 follow the referenced markup. Marks can be inserted automatically,
1434 in which case they are numerical. Alternatively, custom marks can be
1437 Footnotes to stand-alone text with automatic and custom marks are
1438 created in different ways.
1440 @subsubsubheading Footnotes in stand-alone text with automatic marks
1442 The syntax of a footnote in stand-alone text with automatic marks is
1445 \markup @{ ... \auto-footnote @var{text} @var{footnote} ... @}
1453 is the markup or string to be marked.
1456 is the markup or string specifying the footnote text to use at the bottom
1463 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1465 \header { tagline = ##f }
1468 \auto-footnote "tune" \italic " By me"
1469 "is shown below. It is a"
1470 \auto-footnote "recent" \italic " Aug 2012"
1479 @subsubsubheading Footnotes in stand-alone text with custom marks
1481 The syntax of a footnote in stand-alone text with custom marks is
1484 \markup @{ ... \footnote @var{mark} @var{footnote} ... @}
1492 is a markup or string specifying the footnote mark which is used for
1493 marking the reference point. Note that this mark is @emph{not}
1494 inserted automatically before the footnote itself.
1497 is the markup or string specifying the footnote text to use at the
1498 bottom of the page, preceded by the @var{mark}.
1502 Any easy-to-type character such as * or + may be used as a mark, as
1503 shown in @ref{Footnotes in music expressions}. Alteratively, ASCII
1504 aliases may be used (see @ref{ASCII aliases}):
1506 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1508 \paper { #(include-special-characters) }
1509 \header { tagline = ##f }
1512 \footnote "*" \italic "* By me"
1513 "is shown below. It is a recent"
1514 \footnote \super † \concat {
1515 \super † \italic " Aug 2012"
1525 Unicode character codes may also be used to specify marks
1526 (see @ref{Unicode}):
1528 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1530 \header { tagline = ##f }
1533 \footnote \super \char##x00a7 \concat {
1534 \super \char##x00a7 \italic " By me"
1536 "is shown below. It is a recent"
1537 \footnote \super \char##x00b6 \concat {
1538 \super \char##x00b6 \italic " Aug 2012"
1550 @rlearning{Objects and interfaces}.
1553 @ref{ASCII aliases},
1555 @ref{List of special characters},
1560 Internals Reference:
1561 @rinternals{FootnoteEvent},
1562 @rinternals{FootnoteItem},
1563 @rinternals{FootnoteSpanner},
1564 @rinternals{Footnote_engraver}.
1567 Multiple footnotes for the same page can only be stacked, one on top
1568 of the other; they cannot be printed on the same line.
1570 Footnotes cannot be attached to @code{MultiMeasureRests} or
1571 automatic beams and footnote marks may collide with staves,
1572 @code{\markup} objects, other footnote marks and annotation lines.
1575 @node Reference to page numbers
1576 @subsection Reference to page numbers
1578 A particular place of a score can be marked using the @code{\label}
1579 command, either at top-level or inside music. This label can then be
1580 referred to in a markup, to get the number of the page where the marked
1581 point is placed, using the @code{\page-ref} markup command.
1583 @lilypond[verbatim,papersize=a8landscape]
1584 \header { tagline = ##f }
1590 \pageBreak \mark A \label #'markA
1594 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1595 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1599 The @code{\page-ref} markup command takes three arguments:
1601 @item the label, a scheme symbol, eg. @code{#'firstScore};
1602 @item a markup that will be used as a gauge to estimate the dimensions
1604 @item a markup that will be used in place of the page number if the label
1608 The reason why a gauge is needed is that, at the time markups are
1609 interpreted, the page breaking has not yet occurred, so the page numbers
1610 are not yet known. To work around this issue, the actual markup
1611 interpretation is delayed to a later time; however, the dimensions of
1612 the markup have to be known before, so a gauge is used to decide these
1613 dimensions. If the book has between 10 and 99 pages, it may be "00",
1614 ie. a two digit number.
1625 @node Table of contents
1626 @subsection Table of contents
1627 A table of contents is included using the @code{\markuplist \table-of-contents}
1628 command. The elements which should appear in the table of contents are
1629 entered with the @code{\tocItem} command, which may be used either at
1630 top-level, or inside a music expression.
1633 \markuplist \table-of-contents
1636 \tocItem \markup "First score"
1640 \tocItem \markup "Some particular point in the first score"
1645 \tocItem \markup "Second score"
1653 The markups which are used to format the table of contents are defined
1654 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1655 for formatting the title of the table, and @code{tocItemMarkup}, for
1656 formatting the toc elements, composed of the element title and page
1657 number. These variables may be changed by the user:
1661 %% Translate the toc title into French:
1662 tocTitleMarkup = \markup \huge \column {
1663 \fill-line { \null "Table des matières" \null }
1666 %% use larger font size
1667 tocItemMarkup = \markup \large \fill-line {
1668 \fromproperty #'toc:text \fromproperty #'toc:page
1673 Note how the toc element text and page number are referred to in
1674 the @code{tocItemMarkup} definition.
1676 New commands and markups may also be defined to build more elaborated
1679 @item first, define a new markup variable in the @code{\paper} block
1680 @item then, define a music function which aims at adding a toc element
1681 using this markup paper variable.
1684 In the following example, a new style is defined for entering act names
1685 in the table of contents of an opera:
1689 tocActMarkup = \markup \large \column {
1691 \fill-line { \null \italic \fromproperty #'toc:text \null }
1697 #(define-music-function (parser location text) (markup?)
1698 (add-toc-item! 'tocActMarkup text))
1701 @lilypond[line-width=10.0\cm]
1702 \header { tagline = ##f }
1704 tocActMarkup = \markup \large \column {
1706 \fill-line { \null \italic \fromproperty #'toc:text \null }
1712 #(define-music-function (parser location text) (markup?)
1713 (add-toc-item! 'tocActMarkup text))
1716 \markuplist \table-of-contents
1717 \tocAct \markup { Atto Primo }
1718 \tocItem \markup { Coro. Viva il nostro Alcide }
1719 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1720 \tocAct \markup { Atto Secondo }
1721 \tocItem \markup { Sinfonia }
1722 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1727 Dots can be added to fill the line between an item and its page number:
1729 @lilypond[verbatim,line-width=10.0\cm]
1730 \header { tagline = ##f }
1732 tocItemMarkup = \tocItemWithDotsMarkup
1736 \markuplist \table-of-contents
1737 \tocItem \markup { Allegro }
1738 \tocItem \markup { Largo }
1745 @file{ly/toc-init.ly}.
1748 @funindex \table-of-contents
1749 @code{\table-of-contents},
1755 @node Working with input files
1756 @section Working with input files
1759 * Including LilyPond files::
1760 * Different editions from one source::
1761 * Special characters::
1765 @node Including LilyPond files
1766 @subsection Including LilyPond files
1769 @cindex including files
1771 A large project may be split up into separate files. To refer to
1775 \include "otherfile.ly"
1778 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1779 contents of @file{otherfile.ly} into the current file at the place
1780 where the @code{\include} appears. For example, in a large
1781 project you might write separate files for each instrument part
1782 and create a @qq{full score} file which brings together the
1783 individual instrument files. Normally the included file will
1784 define a number of variables which then become available
1785 for use in the full score file. Tagged sections can be
1786 marked in included files to assist in making them usable in
1787 different places in a score, see @ref{Different editions from
1790 Files in the current working directory may be referenced by
1791 specifying just the file name after the @code{\include} command.
1792 Files in other locations may be included by giving either a full
1793 path reference or a relative path reference (but use the UNIX
1794 forward slash, /, rather than the DOS/Windows back slash, \, as the
1795 directory separator.) For example, if @file{stuff.ly} is located
1796 one directory higher than the current working directory, use
1799 \include "../stuff.ly"
1803 or if the included orchestral parts files are all located in a
1804 subdirectory called @file{parts} within the current directory, use
1807 \include "parts/VI.ly"
1808 \include "parts/VII.ly"
1812 Files which are to be included can also contain @code{\include}
1813 statements of their own. By default, these second-level
1814 @code{\include} statements are not interpreted until they have
1815 been brought into the main file, so the file names they specify
1816 must all be relative to the directory containing the main file,
1817 not the directory containing the included file. However,
1818 this behavior can be changed by passing the option
1819 @option{-drelative-includes} option at the command line
1820 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1821 at the top of the main input file). With @code{relative-includes}
1822 set, the path for each @code{\include} command will be taken
1823 relative to the file containing that command. This behavior is
1824 recommended and it will become the default behavior in a future
1825 version of lilypond.
1827 Files can also be included from a directory in a search path
1828 specified as an option when invoking LilyPond from the command
1829 line. The included files are then specified using just their
1830 file name. For example, to compile @file{main.ly} which includes
1831 files located in a subdirectory called @file{parts} by this method,
1832 cd to the directory containing @file{main.ly} and enter
1835 lilypond --include=parts main.ly
1838 and in main.ly write
1846 Files which are to be included in many scores may be placed in
1847 the LilyPond directory @file{../ly}. (The location of this
1848 directory is installation-dependent - see
1849 @rlearning{Other sources of information}). These files can then
1850 be included simply by naming them on an @code{\include} statement.
1851 This is how the language-dependent files like @file{english.ly} are
1854 LilyPond includes a number of files by default when you start
1855 the program. These includes are not apparent to the user, but the
1856 files may be identified by running @code{lilypond --verbose} from
1857 the command line. This will display a list of paths and files that
1858 LilyPond uses, along with much other information. Alternatively,
1859 the more important of these files are discussed in
1860 @rlearning{Other sources of information}. These files may be
1861 edited, but changes to them will be lost on installing a new
1862 version of LilyPond.
1864 Some simple examples of using @code{\include} are shown in
1865 @rlearning{Scores and parts}.
1869 @rlearning{Other sources of information},
1870 @rlearning{Scores and parts}.
1873 If an included file is given a name which is the same as one in
1874 LilyPond's installation files, LilyPond's file from the
1875 installation files takes precedence.
1878 @node Different editions from one source
1879 @subsection Different editions from one source
1881 Several methods can be used to generate different versions of a score
1882 from the same music source. Variables are perhaps the most useful for
1883 combining lengthy sections of music and/or annotation. Tags are more
1884 useful for selecting one section from several alternative shorter
1885 sections of music, and can also be used for splicing pieces of music
1886 together at different points.
1888 Whichever method is used, separating the notation from the structure of
1889 the score will make it easier to change the structure while leaving the
1895 * Using global settings::
1898 @node Using variables
1899 @unnumberedsubsubsec Using variables
1901 @cindex variables, use of
1903 If sections of the music are defined in variables they can be
1904 reused in different parts of the score, see @rlearning{Organizing
1905 pieces with variables}. For example, an @notation{a cappella}
1906 vocal score frequently includes a piano reduction of the parts
1907 for rehearsal purposes which is identical to the vocal music, so
1908 the music need be entered only once. Music from two variables
1909 may be combined on one staff, see @ref{Automatic part combining}.
1912 @lilypond[verbatim,quote]
1913 sopranoMusic = \relative c'' { a4 b c b8( a) }
1914 altoMusic = \relative g' { e4 e e f }
1915 tenorMusic = \relative c' { c4 b e d8( c) }
1916 bassMusic = \relative c' { a4 gis a d, }
1917 allLyrics = \lyricmode {King of glo -- ry }
1919 \new Staff = "Soprano" \sopranoMusic
1920 \new Lyrics \allLyrics
1921 \new Staff = "Alto" \altoMusic
1922 \new Lyrics \allLyrics
1923 \new Staff = "Tenor" {
1927 \new Lyrics \allLyrics
1928 \new Staff = "Bass" {
1932 \new Lyrics \allLyrics
1935 \set Staff.printPartCombineTexts = ##f
1941 \set Staff.printPartCombineTexts = ##f
1951 Separate scores showing just the vocal parts or just the piano
1952 part can be produced by changing just the structural statements,
1953 leaving the musical notation unchanged.
1955 For lengthy scores, the variable definitions may be placed in
1956 separate files which are then included, see @ref{Including
1960 @unnumberedsubsubsec Using tags
1963 @funindex \keepWithTag
1964 @funindex \removeWithTag
1965 @funindex \pushToTag
1966 @funindex \appendToTag
1968 @cindex keep tagged music
1969 @cindex remove tagged music
1970 @cindex splice into tagged music
1972 The @code{\tag #'@var{partA}} command marks a music expression
1973 with the name @var{partA}.
1974 Expressions tagged in this way can be selected or filtered out by
1975 name later, using either @code{\keepWithTag #'@var{name}} or
1976 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1977 to tagged music is as follows:
1978 @multitable @columnfractions .5 .5
1982 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1983 @tab Untagged music and music tagged with @var{name} is included;
1984 music tagged with any other tag name is excluded.
1986 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1987 @tab Untagged music and music tagged with any tag name other than
1988 @var{name} is included; music tagged with @var{name} is
1991 Tagged music not preceded by either @code{\keepWithTag} or
1992 @code{\removeWithTag}
1993 @tab All tagged and untagged music is included.
1996 The arguments of the @code{\tag}, @code{\keepWithTag} and
1997 @code{\removeWithTag} commands should be a symbol
1998 (such as @code{#'score} or @code{#'part}), followed
1999 by a music expression.
2001 In the following example, we see two versions of a piece of music,
2002 one showing trills with the usual notation, and one with trills
2003 explicitly expanded:
2005 @lilypond[verbatim,quote]
2006 music = \relative g' {
2008 \tag #'trills { d8.\trill }
2009 \tag #'expand { \repeat unfold 3 { e32 d } }
2014 \keepWithTag #'trills \music
2017 \keepWithTag #'expand \music
2022 Alternatively, it is sometimes easier to exclude sections of music:
2024 @lilypond[verbatim,quote]
2025 music = \relative g' {
2027 \tag #'trills { d8.\trill }
2028 \tag #'expand {\repeat unfold 3 { e32 d } }
2033 \removeWithTag #'expand
2037 \removeWithTag #'trills
2042 Tagged filtering can be applied to articulations, texts, etc. by
2046 -\tag #'@var{your-tag}
2049 to an articulation. For example, this would define a note with a
2050 conditional fingering indication and a note with a conditional
2055 c1-\tag #'warn ^"Watch!"
2058 Multiple tags may be placed on expressions with multiple
2059 @code{\tag} entries:
2061 @lilypond[quote,verbatim]
2062 music = \relative c'' {
2063 \tag #'a \tag #'both { a4 a a a }
2064 \tag #'b \tag #'both { b4 b b b }
2067 \keepWithTag #'a \music
2068 \keepWithTag #'b \music
2069 \keepWithTag #'both \music
2073 Multiple @code{\removeWithTag} filters may be applied to a single
2074 music expression to remove several differently named tagged sections:
2076 @lilypond[verbatim,quote]
2077 music = \relative c'' {
2078 \tag #'A { a4 a a a }
2079 \tag #'B { b4 b b b }
2080 \tag #'C { c4 c c c }
2081 \tag #'D { d4 d d d }
2090 Two or more @code{\keepWithTag} filters applied to a single music
2091 expression will cause @emph{all} tagged sections to be removed, as
2092 the first filter will remove all tagged sections except the one
2093 named, and the second filter will remove even that tagged section.
2095 Sometimes you want to splice some music at a particular place in an
2096 existing music expression. You can use @code{\pushToTag} and
2097 @code{\appendToTag} for adding material at the front or end of the
2098 @code{elements} of an existing music construct. Not every music
2099 construct has @code{elements}, but sequential and simultaneous music are
2102 @lilypond[verbatim,quote]
2103 test = { \tag #'here { \tag #'here <<c''>> } }
2106 \pushToTag #'here c'
2107 \pushToTag #'here e'
2108 \pushToTag #'here g' \test
2109 \appendToTag #'here c'
2110 \appendToTag #'here e'
2111 \appendToTag #'here g' \test
2115 Both commands get a tag, the material to splice in at every occurence of
2116 the tag, and the tagged expression. The commands make sure to
2117 copy everything that they change so that the original @code{\test}
2118 retains its meaning.
2122 @rlearning{Organizing pieces with variables}.
2125 @ref{Automatic part combining},
2126 @ref{Including LilyPond files}.
2129 @c This warning is more general than this placement implies.
2130 @c Rests are not merged whether or not they come from tagged sections.
2131 @c Should be deleted? -td
2134 Multiple rests are not merged if you create a score with more
2135 than one tagged section at the same place.
2140 @node Using global settings
2141 @unnumberedsubsubsec Using global settings
2143 @cindex include-settings
2145 Global settings can be included from a separate file:
2148 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
2151 Groups of settings such as page size, font or type face can be stored
2152 in separate files. This allows different editions from the same score
2153 as well as standard settings to be applied to many scores, simply by
2154 specifying the proper settings file.
2156 This technique also works well with the use of style sheets, as
2157 discussed in @rlearning{Style sheets}.
2161 @rlearning{Organizing pieces with variables},
2162 @rlearning{Style sheets}.
2165 @ref{Including LilyPond files}.
2168 @node Special characters
2169 @subsection Special characters
2171 @cindex special characters
2172 @cindex non-ASCII characters
2182 @unnumberedsubsubsec Text encoding
2186 LilyPond uses the character repertoire defined by the Unicode
2187 consortium and ISO/IEC 10646. This defines a unique name and
2188 code point for the character sets used in virtually all modern
2189 languages and many others too. Unicode can be implemented using
2190 several different encodings. LilyPond uses the UTF-8 encoding
2191 (UTF stands for Unicode Transformation Format) which represents
2192 all common Latin characters in one byte, and represents other
2193 characters using a variable length format of up to four bytes.
2195 The actual appearance of the characters is determined by the
2196 glyphs defined in the particular fonts available - a font defines
2197 the mapping of a subset of the Unicode code points to glyphs.
2198 LilyPond uses the Pango library to layout and render multi-lingual
2201 LilyPond does not perform any input-encoding conversions. This
2202 means that any text, be it title, lyric text, or musical
2203 instruction containing non-ASCII characters, must be encoded in
2204 UTF-8. The easiest way to enter such text is by using a
2205 Unicode-aware editor and saving the file with UTF-8 encoding. Most
2206 popular modern editors have UTF-8 support, for example, vim, Emacs,
2207 jEdit, and GEdit do. All MS Windows systems later than NT use
2208 Unicode as their native character encoding, so even Notepad can
2209 edit and save a file in UTF-8 format. A more functional
2210 alternative for Windows is BabelPad.
2212 If a LilyPond input file containing a non-ASCII character is not
2213 saved in UTF-8 format the error message
2216 FT_Get_Glyph_Name () error: invalid argument
2221 Here is an example showing Cyrillic, Hebrew and Portuguese
2225 %c No verbatim here as the code does not display correctly in PDF
2227 bulgarian = \lyricmode {
2228 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
2232 hebrew = \lyricmode {
2233 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
2237 portuguese = \lyricmode {
2238 à vo -- cê uma can -- ção legal
2244 \addlyrics { \bulgarian }
2245 \addlyrics { \hebrew }
2246 \addlyrics { \portuguese }
2251 @unnumberedsubsubsec Unicode
2255 To enter a single character for which the Unicode code point is
2256 known but which is not available in the editor being used, use
2257 either @code{\char ##xhhhh} or @code{\char #dddd} within a
2258 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
2259 the character required and @code{dddd} is the corresponding decimal
2260 value. Leading zeroes may be omitted, but it is usual to specify
2261 all four characters in the hexadecimal representation. (Note that
2262 the UTF-8 encoding of the code point should @emph{not} be used
2263 after @code{\char}, as UTF-8 encodings contain extra bits indicating
2264 the number of octets.) Unicode code charts and a character name
2265 index giving the code point in hexadecimal for any character can be
2266 found on the Unicode Consortium website,
2267 @uref{http://www.unicode.org/}.
2269 For example, @code{\char ##x03BE} and @code{\char #958} would both
2270 enter the Unicode U+03BE character, which has the Unicode name
2271 @qq{Greek Small Letter Xi}.
2273 Any Unicode code point may be entered in this way and if all special
2274 characters are entered in this format it is not necessary to save
2275 the input file in UTF-8 format. Of course, a font containing all
2276 such encoded characters must be installed and available to LilyPond.
2278 The following example shows Unicode hexadecimal values being entered
2279 in four places -- in a rehearsal mark, as articulation text, in
2280 lyrics and as stand-alone text below the score:
2282 @lilypond[quote,verbatim]
2285 c1 \mark \markup { \char ##x03EE }
2286 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
2288 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
2290 \markup { "Copyright 2008--2012" \char ##x00A9 }
2293 @cindex copyright sign
2295 To enter the copyright sign in the copyright notice use:
2299 copyright = \markup @{ \char ##x00A9 "2008" @}
2305 @unnumberedsubsubsec ASCII aliases
2307 A list of ASCII aliases for special characters can be included:
2309 @lilypond[quote,verbatim]
2311 #(include-special-characters)
2314 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2317 \new Staff { \repeat unfold 9 a'4 }
2319 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2324 "The replacement can be disabled:"
2325 "– &OE; …"
2326 \override #'(replacement-alist . ()) "– &OE; …"
2330 You can also make your own aliases, either globally:
2332 @lilypond[quote,verbatim]
2334 #(add-text-replacements!
2335 '(("100" . "hundred")
2336 ("dpi" . "dots per inch")))
2338 \markup "A 100 dpi."
2343 @lilypond[quote,verbatim]
2344 \markup \replace #'(("100" . "hundred")
2345 ("dpi" . "dots per inch")) "A 100 dpi."
2350 @ref{List of special characters}.
2353 @file{ly/text-replacements.ly}.
2356 @node Controlling output
2357 @section Controlling output
2360 * Extracting fragments of music::
2361 * Skipping corrected music::
2362 * Alternative output formats::
2363 * Replacing the notation font::
2366 @node Extracting fragments of music
2367 @subsection Extracting fragments of music
2369 It is possible to quote small fragments of a large score directly from
2370 the output. This can be compared to clipping a piece of a paper score
2373 This is done by defining the measures that need to be cut out
2374 separately. For example, including the following definition
2382 (make-rhythmic-location 5 1 2)
2383 (make-rhythmic-location 7 3 4)))
2388 will extract a fragment starting halfway the fifth measure, ending in
2389 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
2390 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
2392 More clip regions can be defined by adding more pairs of
2393 rhythmic-locations to the list.
2395 In order to use this feature, LilyPond must be invoked with
2396 @option{-dclip-systems}. The clips are output as EPS files, and are
2397 converted to PDF and PNG if these formats are switched on as well.
2399 For more information on output formats, see @rprogram{Invoking lilypond}.
2401 @node Skipping corrected music
2402 @subsection Skipping corrected music
2405 @funindex skipTypesetting
2406 @funindex showFirstLength
2407 @funindex showLastLength
2409 When entering or copying music, usually only the music near the end (where
2411 are adding notes) is interesting to view and correct. To speed up
2412 this correction process, it is possible to skip typesetting of all but
2413 the last few measures. This is achieved by putting
2416 showLastLength = R1*5
2421 in your source file. This will render only the last 5 measures
2422 (assuming 4/4 time signature) of every @code{\score} in the input
2423 file. For longer pieces, rendering only a small part is often an order
2424 of magnitude quicker than rendering it completely. When working on the
2425 beginning of a score you have already typeset (e.g. to add a new part),
2426 the @code{showFirstLength} property may be useful as well.
2428 Skipping parts of a score can be controlled in a more fine-grained
2429 fashion with the property @code{Score.skipTypesetting}. When it is
2430 set, no typesetting is performed at all.
2432 This property is also used to control output to the MIDI file. Note that
2433 it skips all events, including tempo and instrument changes. You have
2436 @lilypond[quote,relative=2,ragged-right,verbatim]
2438 \set Score.skipTypesetting = ##t
2440 \set Score.skipTypesetting = ##f
2444 In polyphonic music, @code{Score.skipTypesetting} will affect all
2445 voices and staves, saving even more time.
2447 @node Alternative output formats
2448 @subsection Alternative output formats
2450 @cindex scalable vector graphics output
2452 @cindex encapsulated postscript output
2455 The default output formats for the printed score are Portable
2456 Document Format (PDF) and PostScript (PS). Scalable Vector
2457 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
2458 Network Graphics (PNG) output formats are also available through
2459 command line options, see
2460 @rprogram{Basic command line options for LilyPond}.
2463 @node Replacing the notation font
2464 @subsection Replacing the notation font
2466 Gonville is an alternative to the Feta font used in LilyPond and can
2469 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2472 Here are a few sample bars of music set in Gonville:
2474 @c NOTE: these images are a bit big, but that's important
2475 @c for the font comparison. -gp
2476 @sourceimage{Gonville_after,,,}
2478 Here are a few sample bars of music set in LilyPond's Feta font:
2480 @sourceimage{Gonville_before,,,}
2482 @subsubheading Installation Instructions for MacOS
2484 Download and extract the zip file. Copy the @code{lilyfonts}
2485 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2486 information, see @rlearning{Other sources of information}. Rename the
2487 existing @code{fonts} directory to @code{fonts_orig} and the
2488 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2489 reverse the process.
2493 @rlearning{Other sources of information}.
2496 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2497 likely newer glyphs in later releases of LilyPond may not exist in the
2498 Gonville font family. Please refer to the author's website for more
2499 information on these and other specifics, including licensing of
2504 @section MIDI output
2509 MIDI (Musical Instrument Digital Interface) is a standard for
2510 connecting and controlling digital instruments. A MIDI file is a
2511 series of notes in a number of tracks. It is not an actual
2512 sound file; you need special software to translate between the
2513 series of notes and actual sounds.
2515 Pieces of music can be converted to MIDI files, so you can listen to
2516 what was entered. This is convenient for checking the music; octaves
2517 that are off or accidentals that were mistyped stand out very much
2518 when listening to the MIDI output.
2520 Standard MIDI output is somewhat crude; optionally, an enhanced and
2521 more realistic MIDI output is available by means of
2522 @ref{The Articulate script}.
2524 The MIDI output allocates a channel for each staff, and reserves channel
2525 10 for drums. There are only 16 MIDI channels per device, so if the
2526 score contains more than 15 staves, MIDI channels will be reused.
2529 * Creating MIDI files::
2531 * What goes into the MIDI output?::
2533 * Controlling MIDI dynamics::
2534 * Percussion in MIDI::
2535 * The Articulate script::
2538 @node Creating MIDI files
2539 @subsection Creating MIDI files
2541 To create a MIDI output file from a LilyPond input file, add a
2542 @code{\midi} block to a score, for example,
2551 If there is a @code{\midi} block in a @code{\score} with no
2552 @code{\layout} block, only MIDI output will be produced. When
2553 notation is needed too, a @code{\layout} block must also be
2564 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2565 and translated correctly to the MIDI output. Dynamic marks,
2566 crescendi and decrescendi translate into MIDI volume levels.
2567 Dynamic marks translate to a fixed fraction of the available MIDI
2568 volume range. Crescendi and decrescendi make the volume vary
2569 linearly between their two extremes. The effect of dynamic markings
2570 on the MIDI output can be removed completely, see @ref{MIDI block}.
2572 The initial tempo and later tempo changes can be specified
2573 with the @code{\tempo} command within the music notation. These
2574 are reflected in tempo changes in the MIDI output. This command
2575 will normally result in the metronome mark being printed, but this
2576 can be suppressed, see @ref{Metronome marks}. An alternative way
2577 of specifying the initial or overall MIDI tempo is described below,
2578 see @ref{MIDI block}.
2580 Due to some limitations on Windows, the default extension for
2581 MIDI files on Windows is @code{.mid}. Other operating systems still
2582 use the extension @code{.midi}. If a different extension is preferred,
2583 insert the following line at the top-level of the input file,
2584 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2587 #(ly:set-option 'midi-extension "midi")
2590 The line above will set the default extension for MIDI files to
2593 Alternatively, this option can also be supplied on the command line:
2596 lilypond … -dmidi-extension=midi lilyFile.ly
2600 @unnumberedsubsubsec Instrument names
2602 @cindex instrument names
2603 @funindex Staff.midiInstrument
2605 The MIDI instrument to be used is specified by setting the
2606 @code{Staff.midiInstrument} property to the instrument name.
2607 The name should be chosen from the list in @ref{MIDI instruments}.
2611 \set Staff.midiInstrument = #"glockenspiel"
2617 \new Staff \with @{midiInstrument = #"cello"@} @{
2622 If the selected instrument does not exactly match an instrument from
2623 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2629 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2630 {changing-midi-output-to-one-channel-per-voice.ly}
2634 @c In 2.11 the following no longer seems to be a problem -td
2636 Unterminated (de)crescendos will not render properly in the midi file,
2637 resulting in silent passages of music. The workaround is to explicitly
2638 terminate the (de)crescendo. For example,
2645 will not work properly but
2648 @{ a4\< b c d\!\f @}
2655 Changes in the MIDI volume take place only on starting a note, so
2656 crescendi and decrescendi cannot affect the volume of a
2659 Not all midi players correctly handle tempo changes in the midi
2660 output. Players that are known to work include MS Windows Media
2661 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2664 @subsection MIDI block
2667 A @code{\midi} block must appear within a score block if MIDI output
2668 is required. It is analogous to the layout block, but somewhat
2669 simpler. Often, the @code{\midi} block is left empty, but it
2670 can contain context rearrangements, new context definitions or code
2671 to set the values of properties. For example, the following will
2672 set the initial tempo exported to a MIDI file without causing a tempo
2673 indication to be printed:
2684 In this example the tempo is set to 72 quarter note
2685 beats per minute. @code{\tempo} is actually a music command for
2686 setting properties during the interpretation of music: in the
2687 context of output definitions like a @code{\midi} block, as a matter of
2688 courtesy those are reinterpreted as if they were context modifications.
2690 @cindex MIDI context definitions
2692 Context definitions follow precisely the same syntax as those
2693 within a @code{\layout} block. Translation modules for sound are
2694 called performers. The contexts for MIDI output are defined in
2695 @file{../ly/performer-init.ly},
2696 see @rlearning{Other sources of information}.
2697 For example, to remove the effect of dynamics
2698 from the MIDI output, insert the following lines in the
2699 @code{\midi@{ @}} block.
2706 \remove "Dynamic_performer"
2711 MIDI output is created only when a @code{\midi} block is included
2712 within a score block defined with a @code{\score} command.
2716 @{ @dots{}notes@dots{} @}
2721 @node What goes into the MIDI output?
2722 @subsection What goes into the MIDI output?
2724 @c TODO Check grace notes - timing is suspect?
2726 @unnumberedsubsubsec Supported in MIDI
2728 @cindex Pitches in MIDI
2729 @cindex MIDI, Pitches
2730 @cindex Quarter tones in MIDI
2731 @cindex MIDI, quarter tones
2732 @cindex Microtones in MIDI
2733 @cindex MIDI, microtones
2734 @cindex Chord names in MIDI
2735 @cindex MIDI, chord names
2736 @cindex Rhythms in MIDI
2737 @cindex MIDI, Rhythms
2738 @cindex Articlulate scripts
2739 @cindex MIDI, articulations
2740 @cindex articulations in MIDI
2741 @cindex trills in MIDI
2742 @cindex turns in MIDI
2743 @cindex rallentando in MIDI
2744 @cindex accelerando in MIDI
2747 The following items of notation are reflected in the MIDI output:
2751 @item Microtones (See @ref{Accidentals}. Rendering needs a
2752 player that supports pitch bend.)
2753 @item Chords entered as chord names
2754 @item Rhythms entered as note durations, including tuplets
2755 @item Tremolos entered without @q{@code{:}[@var{number}]}
2758 @item Crescendi, decrescendi over multiple notes
2759 @item Tempo changes entered with a tempo marking
2763 Using @ref{The Articulate script}, a number of items are added to the
2767 @item Articulations (slurs, staccato, etc)
2769 @item Rallentando and accelerando
2773 @unnumberedsubsubsec Unsupported in MIDI
2775 @c TODO index as above
2777 The following items of notation have no effect on the MIDI output,
2778 unless you use @ref{The Articulate script}:
2781 @item Rhythms entered as annotations, e.g. swing
2782 @item Tempo changes entered as annotations with no tempo marking
2783 @item Staccato and other articulations and ornamentations
2784 @item Slurs and Phrasing slurs
2785 @item Crescendi, decrescendi over a single note
2786 @item Tremolos entered with @q{@code{:}[@var{number}]}
2788 @item Microtonal chords
2792 @node Repeats in MIDI
2793 @subsection Repeats in MIDI
2795 @cindex repeats in MIDI
2796 @funindex \unfoldRepeats
2798 With a few minor additions, all types of repeats can be represented
2799 in the MIDI output. This is achieved by applying the
2800 @code{\unfoldRepeats} music function. This function changes all
2801 repeats to unfold repeats.
2803 @lilypond[quote,verbatim]
2805 \repeat tremolo 8 { c'32 e' }
2806 \repeat percent 2 { c''8 d'' }
2807 \repeat volta 2 { c'4 d' e' f' }
2816 In scores containing multiple voices, unfolding of repeats in MIDI
2817 output will only occur correctly if @emph{each} voice contains fully
2818 notated repeat indications.
2820 When creating a score file using @code{\unfoldRepeats} for MIDI,
2821 it is necessary to make two @code{\score} blocks: one for MIDI
2822 (with unfolded repeats) and one for notation (with volta, tremolo,
2823 and percent repeats). For example,
2831 \unfoldRepeats @var{..music..}
2836 @node Controlling MIDI dynamics
2837 @subsection Controlling MIDI dynamics
2839 MIDI dynamics are implemented by the Dynamic_performer which lives
2840 by default in the Voice context. It is possible to control the
2841 overall MIDI volume, the relative volume of dynamic markings and
2842 the relative volume of different instruments.
2844 @unnumberedsubsubsec Dynamic marks
2846 Dynamic marks are translated to a fixed fraction of the available
2847 MIDI volume range. The default fractions range from 0.25 for
2848 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2849 marks and the associated fractions can be seen in
2850 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2851 This set of fractions may be changed or extended by providing a
2852 function which takes a dynamic mark as its argument and returns the
2853 required fraction, and setting
2854 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2856 For example, if a @notation{rinforzando} dynamic marking,
2857 @code{\rfz}, is required, this will not by default
2858 have any effect on the MIDI volume, as this dynamic marking is not
2859 included in the default set. Similarly, if a new dynamic marking
2860 has been defined with @code{make-dynamic-script} that too will not
2861 be included in the default set. The following example shows how the
2862 MIDI volume for such dynamic markings might be added. The Scheme
2863 function sets the fraction to 0.9 if a dynamic mark of rfz is
2864 found, or calls the default function otherwise.
2866 @lilypond[verbatim,quote]
2867 #(define (myDynamics dynamic)
2868 (if (equal? dynamic "rfz")
2870 (default-dynamic-absolute-volume dynamic)))
2874 \set Staff.midiInstrument = #"cello"
2875 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2887 Alternatively, if the whole table of fractions needs to be
2888 redefined, it would be better to use the
2889 @notation{default-dynamic-absolute-volume} procedure in
2890 @file{../scm/midi.scm} and the associated table as a model.
2891 The final example in this section shows how this might be done.
2893 @unnumberedsubsubsec Overall MIDI volume
2895 The minimum and maximum overall volume of MIDI dynamic markings is
2896 controlled by setting the properties @code{midiMinimumVolume} and
2897 @code{midiMaximumVolume} at the @code{Score} level. These
2898 properties have an effect only on dynamic marks, so if they
2899 are to apply from the start of the score a dynamic mark must be
2900 placed there. The fraction corresponding to each dynamic mark is
2901 modified with this formula
2904 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2907 In the following example the dynamic range of the overall MIDI
2908 volume is limited to the range 0.2 - 0.5.
2910 @lilypond[verbatim,quote]
2916 \set Staff.midiInstrument = #"flute"
2917 \new Voice \relative c''' {
2925 \set Staff.midiInstrument = #"clarinet"
2926 \new Voice \relative c'' {
2938 midiMinimumVolume = #0.2
2939 midiMaximumVolume = #0.5
2945 @unnumberedsubsubsec Equalizing different instruments (i)
2947 If the minimum and maximum MIDI volume properties are set in
2948 the @code{Staff} context the relative volumes of the MIDI
2949 instruments can be controlled. This gives a basic instrument
2950 equalizer, which can enhance the quality of the MIDI output
2953 In this example the volume of the clarinet is reduced relative
2954 to the volume of the flute. There must be a dynamic
2955 mark on the first note of each instrument for this to work
2958 @lilypond[verbatim,quote]
2964 \set Staff.midiInstrument = #"flute"
2965 \set Staff.midiMinimumVolume = #0.7
2966 \set Staff.midiMaximumVolume = #0.9
2967 \new Voice \relative c''' {
2975 \set Staff.midiInstrument = #"clarinet"
2976 \set Staff.midiMinimumVolume = #0.3
2977 \set Staff.midiMaximumVolume = #0.6
2978 \new Voice \relative c'' {
2992 @unnumberedsubsubsec Equalizing different instruments (ii)
2994 If the MIDI minimum and maximum volume properties are not set
2995 LilyPond will, by default, apply a small degree of equalization
2996 to a few instruments. The instruments and the equalization
2997 applied are shown in the table @notation{instrument-equalizer-alist}
2998 in @file{../scm/midi.scm}.
3000 This basic default equalizer can be replaced by setting
3001 @code{instrumentEqualizer} in the @code{Score} context to a new
3002 Scheme procedure which accepts a MIDI instrument name as its only
3003 argument and returns a pair of fractions giving the minimum and
3004 maximum volumes to be applied to that instrument. This replacement
3005 is done in the same way as shown for resetting the
3006 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
3007 The default equalizer, @notation{default-instrument-equalizer}, in
3008 @file{../scm/midi.scm} shows how such a procedure might be written.
3010 The following example sets the relative flute and clarinet volumes
3011 to the same values as the previous example.
3013 @lilypond[verbatim,quote]
3014 #(define my-instrument-equalizer-alist '())
3016 #(set! my-instrument-equalizer-alist
3019 ("flute" . (0.7 . 0.9))
3020 ("clarinet" . (0.3 . 0.6)))
3021 my-instrument-equalizer-alist))
3023 #(define (my-instrument-equalizer s)
3024 (let ((entry (assoc s my-instrument-equalizer-alist)))
3033 \set Score.instrumentEqualizer = #my-instrument-equalizer
3034 \set Staff.midiInstrument = #"flute"
3035 \new Voice \relative c''' {
3043 \set Staff.midiInstrument = #"clarinet"
3044 \new Voice \relative c'' {
3059 @c Delete when satisfied this is adequately covered elsewhere -td
3061 @n ode Microtones in MIDI
3062 @s ubsection Microtones in MIDI
3064 @cindex microtones in MIDI
3066 Microtones consisting of half sharps and half flats are exported
3067 to the MIDI file and render correctly in MIDI players which support
3068 pitch bending. See @ref{Note names in other languages}. Here is
3069 an example showing all the half sharps and half flats. It can be
3070 copied out and compiled to test microtones in your MIDI player.
3072 @lilypond[verbatim,quote]
3089 @node Percussion in MIDI
3090 @subsection Percussion in MIDI
3092 Percussion instruments are generally notated in a @code{DrumStaff}
3093 context and when notated in this way they are outputted correctly
3094 to MIDI channel@tie{}10, but some pitched percussion instruments,
3095 like the xylophone, marimba, vibraphone, timpani, etc., are
3096 treated like @qq{normal} instruments and music for these instruments
3097 should be entered in a normal @code{Staff} context, not a
3098 @code{DrumStaff} context, to obtain the correct MIDI output.
3100 Some non-pitched percussion sounds included in the general MIDI
3101 standard, like melodic tom, taiko drum, synth drum, etc., cannot
3102 be reached via MIDI channel@tie{}10, so the notation for such
3103 instruments should also be entered in a normal @code{Staff}
3104 context, using suitable normal pitches.
3106 Many percussion instruments are not included in the general MIDI
3107 standard, e.g. castanets. The easiest, although unsatisfactory,
3108 method of producing some MIDI output when writing for such
3109 instruments is to substitute the nearest sound from the standard
3112 @c TODO Expand with examples, and any other issues
3116 Because the general MIDI standard does not contain rim shots, the
3117 sidestick is used for this purpose instead.
3119 @node The Articulate script
3120 @subsection The Articulate script
3122 A more realistic MIDI output is possible when using the Articulate
3123 script. It tries to take articulations (slurs, staccato, etc) into
3124 account, by replacing notes with sequential music of suitably
3125 time-scaled note plus skip. It also tries to unfold trills turns
3126 etc., and take rallentando and accelerando into account.
3128 To use the Articulate script, you have to include it at the top of
3132 \include "articulate.ly"
3135 and in the @code{\score} section do
3138 \unfoldRepeats \articulate <<
3139 all the rest of the score...
3143 After altering your input file this way, the visual output is heavily
3144 altered, but the standard @code{\midi} block will produce a better
3147 Although not essential for the Articulate script to work, you may want
3148 to insert the @code{\unfoldRepeats} command as it appears in the
3149 example shown above as it enables performing abbreviatures such as
3154 Articulate shortens chords and some music (esp. organ music) could
3158 @node Extracting musical information
3159 @section Extracting musical information
3161 In addition to creating graphical output and MIDI, LilyPond can
3162 display musical information as text.
3165 * Displaying LilyPond notation::
3166 * Displaying scheme music expressions::
3167 * Saving music events to a file::
3170 @node Displaying LilyPond notation
3171 @subsection Displaying LilyPond notation
3173 @funindex \displayLilyMusic
3174 Displaying a music expression in LilyPond notation can be
3175 done with the music function @code{\displayLilyMusic}. To see the
3176 output, you will typically want to call LilyPond using the command
3181 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
3188 @{ a,4 cis e fis g @}
3191 By default, LilyPond will print these messages to the console
3192 along with all the other LilyPond compilation messages. To split
3193 up these messages and save the results of @code{\display@{STUFF@}},
3194 redirect the output to a file.
3197 lilypond file.ly >display.txt
3201 Note that Lilypond does not just display the music expression, but
3202 also interprets it (since @code{\displayLilyMusic} returns it in
3203 addition to displaying it). This is convenient since you can just
3204 insert @code{\displayLilyMusic} into existing music in order to get
3205 information about it. If you don't actually want Lilypond to
3206 interpret the displayed music as well as display it, use @code{\void}
3207 in order to have it ignored:
3211 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
3216 @node Displaying scheme music expressions
3217 @subsection Displaying scheme music expressions
3219 See @rextend{Displaying music expressions}.
3222 @node Saving music events to a file
3223 @subsection Saving music events to a file
3225 Music events can be saved to a file on a per-staff basis by
3226 including a file in your main score.
3229 \include "event-listener.ly"
3232 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
3233 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
3234 you have multiple unnamed staves, the events for all staves will
3235 be mixed together in the same file. The output looks like this:
3238 0.000 note 57 4 p-c 2 12
3240 0.250 note 62 4 p-c 7 12
3241 0.500 note 66 8 p-c 9 12
3242 0.625 note 69 8 p-c 14 12
3247 The syntax is a tab-delimited line, with two fixed fields on each
3248 line followed by optional parameters.
3251 @var{time} @var{type} @var{...params...}
3254 This information can easily be read into other programs such as
3255 python scripts, and can be very useful for researchers wishing to
3256 perform musical analysis or playback experiments with LilyPond.
3261 Not all lilypond music events are supported by
3262 @file{event-listener.ly}. It is intended to be a well-crafted
3263 @qq{proof of concept}. If some events that you want to see are
3264 not included, copy @file{event-listener.ly} into your lilypond
3265 directory and modify the file so that it outputs the information